When a cure is found to treat mutations, lines are drawn amongst the X-Men, led by Professor Charles Xavier, and the Brotherhood, a band of powerful mutants organized under Xavier's former ally, Magneto.
When bitten by a genetically modified spider, a nerdy, shy, and awkward high school student gains spider-like abilities that he eventually must use to fight evil as a superhero after tragedy befalls his family.
Two mutant brothers, Logan and Victor, born 200 years ago, suffer childhood trauma and have only each other to depend on. Basically, they're fighters and killers, living from war to war through U.S. history. In modern times, a U.S. colonel, Stryker, recruits them and other mutants as commandos. Logan quits and becomes a logger, falling in love with a local teacher. When Logan refuses to rejoin Stryker's crew, the colonel sends the murderous Victor. Logan now wants revenge. Written by
Gavin Hood detailed that during shooting in Australia, script pages would be sent from LA, at times in the night prior to them being filmed. See more »
(at around 13 mins) After Wade comes off the elevator near the beginning of the movie, cutting at bullets and clearing the path to a man with diamonds, he stops and stays in a lounging position after cutting down the last two men. In that instance, two wires are clearly visible near his shoulders. See more »
For the X-Men trilogy, when the 20th Century Fox logo fades away, the 'X' in the logo stays for a second longer before it also fades away. For this film, the 'X' disappears with the rest of the word. See more »
"I'm the best there is at what I do" could hardly be further from the truth
Like fellow 2009 superhero release Watchmen, Wolverine is that rare comic book film which almost appears inevitably more likely to please audiences that are not fans of the source material. However, unlike Watchmen, which adhered so closely to its source material that a falling short by comparison proved inescapable, Wolverine's inevitable backlash of fan outrage stems from its flagrant disregard for its source material. The film casually mutilates and re-writes the comic book context of its source material with the cold disdain of its protagonist, hacking one of the most genuinely compelling, subversive and horrifying superhero back-stories into the worst kind of safe, familiar, PG rated commercial dross. All of Wolverine's compelling comic book edginess is distilled into a flaccid script which forgoes exhilaration for only occasionally impressive fight/chase/explosion scenes, complexity for eye-rolling cheese and broad humour, and story cohesion for an attempt to cram in far too much subject matter and avoid the true dramatic meat of the story.
While further focus on the Wolverine/Sabertooth dichotomy could have yielded a narrative volumes stronger, the film continually broadens its scope, seemingly attempting to bank on the in-jokey winks to fans of the comics by hinting at broadening the Marvel universe in further sequels demonstrated in 2008's Iron Man and The Incredible Hulk. But while their fan nods were tasteful and enjoyable, Wolverine's attempts at matching them appear to be building up to an almost sinister bid for Fox's superhero franchises to compete. Recognizable X-Men characters are continually shoehorned into minuscule parts (fans of Deadpool, Blob, Gambit or, *groan*, Cyclops don't go in expecting much but disappointment) for seemingly the sole purpose of leapfrogging off Wolverine's story into their own spin-offs. However, such an overflowing mass of secondary characters only serves the dual purpose of both derailing Wolverine's story and not even serving to satisfy comic fans clamouring to see their favourite characters on screen, as the fleeting, shallow depictions hardly prove satisfying character development by any stretch of the imagination. If the filmmakers choose to tackle established characters to appease fan expectations, doing nothing with the characters (let alone doing them far from 'properly') hardly seems a suitable way to satisfy a demanding audience.
Director Gavin Hood (known for excellent African drama Tsotsi of all things) has been vocal about his clashes with the studio over the film, and one can only assume, given his excellent credentials, that most of his proposed changes would have been for the better. As it is, Hood demonstrates a shaky directorial presence at best, masking his action scenes in whirling cameras making it near impossible to see, and complimenting most tense or dramatic scenes with a cascade of Harry Gregson-Williams' tiresomely banal and clichéd musical score. That is not to say the film is entirely devoid of quality, but it is reduced to occasional fleeting moments (sporatic bursts of creativity during fight scenes, a promising African raid plot point, and an undeniably gripping if under-explored sequence of Wolverine going through the Weapon X program). But, like the irritatingly freeze-frame beset but otherwise clever opening montage (showcasing Wolverine's progression through numerous world wars) such quality is often overshadowed by cringe-worthy prevailing flaws making it all the more difficult to appreciate.
Ironically for the film situating him most justifiably in the lead role, Hugh Jackman gives his weakest performance in his foundational role as Wolverine. While Jackman's natural charisma and steely credibility still make him a far more sturdy enough lead than his film deserved, his under-exploring of Wolverine's feral ferocity and darkness still leaves an ultimately unsatisfying taste in the mouth. Despite initial skepticism of miscasting, Liev Schreiber proves far more resonant as Wolverine's animalistic adversary Sabretooth, providing a savagely threatening yet controlled performance, which, despite falling short of the true animalistic frenzy Sabretooth should have been, proves one of the more successful attributes of the film. Similarly, Danny Huston provides a welcome dash of class as Machiavellian military official William Stryker, managing to overcome the shortcomings of an underwritten character with an impressively realized, wonderful presence. Ryan Reynolds also proves perfectly cast as twisted mercenary Deadpool, thankfully managing to suppress star showiness in favour of suitably manic humour - nonetheless, Reynolds is criminally wasted in a far too brief and insultingly warped butchering of his comics incarnation. Taylor Kitsch, conversely, gives a bland, dopily flat take on fan favourite Gambit, the character's legendary suave charisma as nonexistent as Kitsch's Cajun accent, doing little to justify his character's near pointless addition.
While it may function suitably as mindless summer entertainment, the inherent complexity in Wolverine's backstory makes its reduction to such a near outright insult to fans of the comic source material. If left as a standalone film, Wolverine might have been dismissible as a mostly harmless disappointment, but with such blatant spin off begging, it evolves into something far more objectionable. While the film has its moments, as a cohesive unit it can be considered nothing less than a tragic waste of potential, floundering any inherent quality in gaping plot holes and unnecessary obvious comedy or "tearjerking" scenes. Wolverine's adage of him being "the best I am at what I do" could hardly be farther than the truth when applied to his film.
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